Introduction:
Museum Description: The theme that has struck my personal interest is the articulation of emotion within art settings. I've chosen this as I mean to expand my art knowledge based on an art display that I showcased which was themed about pain and trauma in an individual. Though in contrast, my museum isn't going to tread towards individuality, I aim to understand HOW emotion impacts art, and how emotion is the scaffolding for artistry. What significance is there for an art piece to be splattered in emotion? I'll make it clear by analyzing works that strictly depict characters whether that's a portrait or people in crowds. This theme caters to me as growing up, I've never been emotionally available to people, it's how I was raised, with this project, I want to build a deeper connection with emotional value to fully grasp the intentions of artistry. I do not think of this museum as a mere walkthrough, but as an adventure into the unknown, my path will be carved to how I interpret artwork only from emotional factors.
Impact Statement: I seek to make an impact on viewers by showcasing artworks that all of them contain people. The catch is, for every artwork they analyze, I'd like them to express different thoughts and reactions every time to understand the importance of people being unique. I do not want viewers to resonate with my intentions in this project, but to awaken emotional value within oneself to see what their eyes couldn't. Furthermore, I want their take on an artwork solely from the factor of emotion to understand how they judge, compare, and form messages as opposed to my own. Is the message emotionally driven? Has emotion influenced the viewer to alter their answer? I do not wish to leave viewers feeling confused about such but for them to realize that there is more vitality in emotion than what people make it out to be. I hope to make onlookers feel more comfortable with emotionally driven perceptions of these subjects so they are less addled about their takes.
Room I: To Writhe in agony
To make a proper connection with an artwork, it's vital to feel what is invoked from said piece. Previously, I studied pain; however, it was more blatant rather than applied to viewers. You need to resonate with the agony of a painting to truly understand what "type" of pain they are feeling.
Elisabetta Sirani, Portia Wounding her Thigh, c. 1664
Here depicts a woman about to inflict herself with an agonizing wound as a means of assertion. This painting explores the concept of emotional suppression in the placement of appeasing another.
(CONTEXT) Sirani was an artist who empowered women's society, she rose to significance by working in a male-dominated art industry. For context that appeals to the artistry, Sirani sought to empower women by asserting her dominance in the art industry, her artworks have pushed the boundaries of gender stereotypes in society. Sirani had sought to put herself in Portia's shoes, causing conflict with labels such as women being "elegant and fragile" and proving that women can just be as ruthless as men, this artwork being a representation of that. Portia is a practical reflection of Sirani as Sirani went out of her way to prove the risks she had been willing to take to establish this artwork, she solidified the meaning of no pleasure without pain, a counternarrative that a woman can still pertain to feminine qualities whilst also performing actions to adhere for oneself. Though it sounds emotionally daunting to stab oneself, Sirani empowers society by transforming one's collected pain into power, allowing viewers to strive for a deep, realistic connection.
Jacques-Louis David, The Death of Marat, c. 1793
Here lies the assassination of French revolutionary leader, Jean-Paul Marat as he is submerged in a concoction of his remains. Though the painting itself isn't emotionally driven, it links a connection with the viewer to the painting to gain a response to how they feel seeing the deceased up close.
(FORM) When presented this artwork, it's detailed to have a lack of linear space with the viewer to provide the grotesque result of this silenced killing. There is a theatric drama as the afternoon sunlight yellows the dark backdrop and intensifies the wounds spilling with blood. Furthermore, there is a lack of contrast with the green and white covering Marat as the light blends the colors and filters the painting to appear yellow. There is an asymmetrical balance as Marat's lifeless body slouches to the left, making that the focal point. Since there is a lack of emotional value as a result of the character being dead, it is up to the viewer to decide what their emotional relationship is with this based on how this man died and how he appears as such.
Tintoretto, The Finding of the Body of Saint Mark, c. 1562
Venetians are placed in a distraught state after discovering the body of Saint Mark. There is an intense drama within this scene as people express themselves in anguish and fall to their knees.
(CONTENT) The subject matter that supports emotional value in this painting is the people who are in an abnormal state of sorrow. The Venetians in this work ruthlessly rush to the discovered body as a result of their adrenaline and once settled, they stop to mourn as they realize this body belonging to Saint Mark, is dead. The subtext, being the body, suggests that Saint Mark had been a figure of significance and these had been the followers of such. The emotional state of these people frames the piece to genre it as a tragic piece, not only are they dramatically mourning the death of this figure, but they are getting themselves hurt in the process, establishing a message to viewers that people as fanciful as them can deteriorate to a low degree. The reactions to the body of Saint Mark symbolize complex emotions by embodying compressed emotions within peoples' minds and physically expressing them through art crafting.
Vincent van Gogh, Self-Portrait with Bandaged Ear, c. 1889
While this self-portrait depicts Van Gogh physically injured, it serves as a mere reflection that adheres to the context of Van Gogh's life with his battle against mental illness.
(CONTEXT) Vincent Van Gogh had left an influential impact on the art scene and was a pioneer of the Post-Impressionist movement. The particular context that reflects from this portrait was his struggle against mental illness, despite the many efforts doctors had tried to treat him, Van Gogh only had interest in his art. He utilized his resources as an artist to settle the conflict between the doctors and himself by expressing his health through art. Van Gogh had revealed in his art what he had been struggling with: being in turmoil with his mental and emotional health; though, lives a will to keep pursuing art. Van Gogh's catering to the Post-Impressionist movement along with his emphasis on emotions in his art has enabled him to paint a portrait that features his physical injuries but further analysis reveals more of his internal struggles.
ROOM II: UNDER THE SKIN
Putting on a neutral face does not hide the fact that someone has their emotions in place, by analyzing the clues, the actions, and the ideas of paintings that lack an emotional drive, it is possible to discover what is under the skin of those who don't show it. Art interpretations are never perfect, but to establish an emotional connection with an art piece, it's important to have a precise understanding to what you're looking at.
Rembrandt Peale, Rubens Peale with a Geranium, c. 1801
This portrait of Rembrandt Peale's brother, Rubens Peale depicts the botanist with a neutral expression. This is essential for the theme as this subject will be explored for a portrait that lacks drive and what neutrality means from an emotional standpoint.
(CONTENT) Rubens Peale holding a geranium plant is the featured subject matter to this piece as he proudly positions next to him for it to be captured in the final product. Peale has a soft expression and is clothed formally to match the color of the backdrop, alongside the geranium plant, as it sprouts with life being entangled in stems. The subtext of this portrait is suggested by the importance of this plant; though, the geranium flower is quite rare, it's unusual for Peale to be holding such. Peale's lack of expression makes the interpretation of an emotional stance uncertain; although, his dedication to portraiting the plant symbolizes his determination as a botanist and showcasing the importance of plants. Despite how he appears, he is proud of advocating the plant's research, despite his indifferent face, he hides that pride to provide a spotlight for the plan.
Arnold Böcklin, Self-Portrait with Death Playing the Fiddle, c. 1872
A self-portrait of the artist is on display though it's clear that Death is composing a tune as he resides next to him. Despite Death's breath being over Böcklin's shoulder, he displays an emotional indifference, it's unclear if he's neutral with Death or if he's embraced him.
(CONTEXT) Despite Böcklin being well versed in arts, he had a great obsession with the concept of mortality. In specific contextualization deriving from this artwork, Böcklin was shadowed by conflict, as a result, he came to terms with how life-sensitive may be and accepted that humans could die at any point. This became Böcklin's rallying point. As the artist rose to reputation, he had put his ambitions towards the Symbolist movement, though his works had always been labeled into classical styles such as Idealism and Romanticism. He experimented further in his style embracing supernatural and mythological elements, Böcklin faced tragedies numerous times throughout his lifetime and would strive for a relationship with tragedy itself. Böcklin's work leaves onlookers allured and conflicted as his gaze signals he has been entranced by Death's song, he leaves people speechless as he has bonded with an anomaly that the vast majority fear.
Éduorard Manet, Plum Brandy, c. 1877
This painting illustrates a woman nonchalantly smoking, this piece idolizes the concepts of feeling alone and isolated. This can be further explored as to what emotions placed her in this state of mind, how her thoughts had led up to this situation, and what can be pointed out based on her stature.
(CONTENT) The subject matter in question depicts a woman staring off into space as she smokes a cigarette. She's seated in a restaurant and has her beverage kept close to her. She has a tired, hustling expression as she's hunched over the table, keeping her head up with her hand. The subtext in this situation is the cigarette she holds, this is selling the idea that she's smoking due to stress that is too much to handle, and this has become her coping mechanism. The framing of the painting creates a claustrophobic look, bolstering the message that she's emotionally unavailable as she's all alone. This simple portrayal of a woman smoking symbolizes the "mask" that hides the spiraling emotions that take a toll on oneself.
James Ensor, The Intrigue, c. 1890
This art piece depicts a group of individuals although the scene feels off as they are revealed to be wearing masks. This is placed within my museum as this bolsters the concept that emotions are easy to hide and just how people might hide them.
(FORM) When introduced to these people, it is apparent that the shape of their faces is unnatural, they are fattened, yet their faces' texture is weighted and rock-solid. In addition, the light that shines on their face makes them appear unnaturally pale and have unusual makeup looks where as if their reaction on view is the only one they can make. Finally, despite the backdrop appearing quite bright, they are fully clothed in dull, pastel colors, a contrast to the looks on their faces, the pale appearances with the intense red suggests these are masks. When considering that this entourage is covering their identities along with wearing comedically bright colors, from an emotional standpoint, it can be made out that this is an act of jest or the motive to be amused. With the movement that art is to reveal intention, this painting reveals the peoples' true reactions to the event whilst, in a real setting, these people are putting on a poker face, templating the norm that most people never reveal their cards.
ROOM III: A GREAT CHAOS
The abrupt nature of chaos that fills a scene removes the ability of emotional comprehension from both the viewer and the characters of the piece. Though comprehension is lacking, it doesn't mean emotional value is insignificant, if viewers consider the work carefully they can make out the emotions that characterize the piece and distinguish WHAT and WHY that works.
Francisco Goya, Saturn Devouring His Son, c. 1819-1823
The chaotic nature of the Roman god, Saturn, entranced in an unstable, mentally ill state as devours his son. Despite his emotions being moot, he is a glutton for power as he fears his son may plot to overthrow him.
(CONTENT) Here is the subject, we're presented with a large, old figure in a blackened setting as he begins to maul and consume the body of someone young as if he's a carnivorous animal. Both his stature and his expressions are grotesque as his actions nearly diminish his sentiment. The act of eating, serves as the subtext, stripping Saturn from his humanity as he indulges in cannibalistic behavior. This inhumane service settles the notion of emotional instability: selling one's emotional norms in return for maintaining power as a god, interpretations are not singular, they are an abundance of many thoughts that reflect on his mental state. Saturn's hunger symbolizes the vile risks some are willing to take revealing their greed, as a trade for a fervor of power, reducing them emotionally.
Eugène Delacroix, The Death of Sardanapalus, c. 1827
This painting displays the scene of a battle, all seems lost as the people within this work have succumbed to death and defeat. Despite the idea of this painting being contextualized under a battle, this outcome is the result of the Assyrian king, Sardanpalus, ordering the death and discard of his treasures and concubines.
(FORM) Upon examining the artistry, it is clear that the characters are dramatically modeled in order to express their anguish and swift panic as they have been ordered to be extinguished. Drama is emphasized as the painting is held within a darkened backdrop. yet a light is shined onto the characters. Here we are glimpsed with the practical nudity, seeing the light emphasize the bodies and muscles of both men and women. The chaotic scene roars with movement though the focal point is given to Sardanpalus himself as his composed demeanor contrasts with the genuine confusion of the other models. With further analysis of the contrast of emotion, the painting informs us that this scene hadn't been a loss by another; but, is the result of pride consuming the king, resulting in the abrupt illustrations.
Théodore Géricault, The Raft of the Medusa, c. 1818-1819
This is the outcome of a shipwreck, complex thoughts and emotions surge the scene as they begin to panic in fear of being shipless. Fear and chaos strike the crew as they don't know how to think, they do without thought as their reflexes aren't content being stranded in the deep waters.
(FORM) The characters in this painting are modeled to be emotionally unavailable as they can not form proper thoughts, all they can think of is finding safety from the raging ocean. The drama omitting is further emphasized as the light from the sun begins to set, the setting light creates a dandelion film on the painting, shining on the intricate details of the models' bodies. There is a contrast among the members of the crew: the most lively are moving the most as they signal for help., though it's imminent that some of the crew has taken the ferry with Death, appearing sickly pale and blood spilled. The demented sea taunts both the shipwreck and the onlookers of this painting by establishing a vanishing point, the water is endless and all hope appears lost. This artwork establishes proper sympathy with viewers by theatrically illustrating a life-or-death situation; furthermore. It has them reconsider how to keep one's emotions intact when in a dire situation as panic insinuates stress.
John Singleton Copley, Watson and the Shark, c. 1778
This scene depicts an outright shark attack on a patrol, it appears that the shark is establishing its dominance towards this group. This is contextualized based on the real story of Brook Watson as he had lost his leg in a shark attack, depicting emotions that ensue as utter chaos breaks out.
(CONTEXT) The specific context that surrounds this scene is to reference the historical events in this time period: the American Revolution and the slave trade. When Copley made this painting known, it had been a time when political distress occurred within American colonies and British oppression; the painting serves as an allegory for these events. The story of Watson highlights the lengths these people were taking to satisfy the slave trade by depicting a shark that symbolizes the unknown threats that lurk in lands that aren't dominated by humans. Regardless of Copley's works demonstrating a violent and traumatic scene, he sought to shed light on ideas of courage and survival for viewers reflecting on this artwork. By asserting a good against the evil situation, Copley allows viewers to feel empathy for these people despite the scene of utter madness.
After dedicating your time to my museum, I hope you are more comfortable making observations that might seem uncanny. Art is a commodity all about making perceptions, though the social norm says to believe subjects as one thing, it is completely valid to have a usual perspective on said subject. In doing so, you are reflecting and learning more about yourself by learning artwork itself, it's normal to be vulnerable when making emotionally driven statements, it's in our human nature. It is okay to not understand what you feel, even better if you process such, though when you suppress and consider these feelings of the unknown, you hold yourself from reaching your philosophy.